"Learn something new everyday and most importantly, listen!!!"

Evan Palmerston: The Musicality Of Blood

Evan Palmerston has been a working bassist for the past 4 decades. Born 1952, raised in New York and San Francisco and currently based in SF’s “Northbay” he has toured & recorded with many of the industry’s top acts. From progressive fusion/ jazz/ rock of artists such as Merl Saunders, Buzzy Feiten and  Randy Crawford to Blues staples, Luther Tucker, Ron Thompson and the Elvin Bishop Band. During his tenure with the band he appeared on 5 CD’s including the California Music Award winning “That’s My Partner” which was honored as “Outstanding R & B Album 2001” by the Academy. 

For the past years he has held the bass chair with legendary east bay Funkstress” Lydia Pense and Cold Blood, touring extensively throughout the USA & Japan as well as appearing on the groups last two releases, “Transfusion” & “Live Blood”. 

Bass player for Cold Blood, a long-standing soul-rock-jazz band founded by Larry Field in 1968 and originally based in the San Francisco East Bay area. They have also gone by the name "Lydia Pense and Cold Blood" due to the popularity of their lead singer, Lydia Pense. The band first came to prominence in 1969 when rock impresario Bill Graham signed them after an audition and they played the Fillmore West in San Francisco. Pense has been compared to Janis Joplin, and it was Joplin who recommended the audition to Graham. Current personnel are Lydia Pense (vocals), Steve Salinas (keyboards), Steve Dunne (guitar), Evan Palmerston (bass), Rich Armstrong (trumpet, percussion), Rob Zuckerman (saxes) and Donny Baldwin (drums).

Interview by Michael Limnios

When was your first desire to become involved in the music and who were your first idols?

My Dad was a semi-successful Broadway (NYC, NY) actor specializing in musicals, when he landed a key roll in a hit show. Subsequently, the show went on the road and when he landed in the SF Bay Area immediately moved the family to SF. This was 1960. I was 8. During a summer vacation 2 yrs; later, he asked me to do lights for a production of Shakespeare's "Twelfth Night" in the annual Shakespeare Fest which he directed. In the play, there is scene that involves a "Lute". Well, there was no "Lute" to be found so one actor brought in an acoustic guitar as an alternative...which, my Dad promptly confiscated to "check it out". When he started to actually play it I couldn't believe it...I had no idea! He was a finger picker so I pointed to his thumb and said "I wanna do that part" the bass part.  The short answer: My Dad was the first then came Paul McCartney & James Jamerson in that order are the ones that peaked my original interest in playing the Bass.

"The last couple decades have just seemed hollow to me. The lyrics are clever (sometimes) but depth of the musicality is missing. It just doesn't grab me."

How do you describe Evan Palmerston sound and progress, what characterize your music philosophy?

Since the very beginning my sound and playing have been evolving, hopefully for the better (as in getting better as a player, musician and technician). Philosophy? Practice, practice, practice and then practice some more! Learn something new everyday and most importantly, listen!!!

What’s the best jam you ever played in? What are some of the most memorable gigs you've had?

There have been many memorable "jams" or musical encounters of the FBW kind (politically correct acronym for "fly by wire" or more accurately..."by the seat of your pants") both great and not so great. That's all part of it.  But the best would have to be when I first started touring with The Elvin Bishop Band. It had been a fairly long tour and when I got home I just wanted to get out just play. I went to a local open Jam nite (Sonoma Co. CA.) and signed up to sit in. The place had maybe ten patrons in it, the 25 or so were eager "jammers".  I sat through the first 45 min set and was set to go home when the coordinator stopped me and asked if I really played for Elvin, to which I said yes. He then said could I stick around till after the next guy sat in then they'd call me up. I agreed. When I got up the guy who had asked me to stay was actually the guitar player & and a new drummer came up. I didn't know these guys, never heard or played with them but I can tell you on the first note we hit the floor runnin' and didn't stop till the end of the night! Everyone else there just sat and listened in amazement and didn't even try to "break the moment". The guitar player was the late Ralph Bryan and the drummer was bad, bad Willy Jordan. It was one of those very rare "musical moments" I was lucky enough to be involved with.

Memorable gigs? There have been many I'll never forget but the 3 best were: 1) In the late 70's I was asked to record with Buzzy Feiten on a jazz fusion type session produced by Elliot Maser which to this day is one my personal favorites. 2) With Elvin Bishop recording his live collaboration with his mentor Little Smokey Smothers on the award winning "That's my Partner". 3) with Lydia Pense & Cold Blood at the Infinity Theater in Norfolk Connecticut where we were greeted with a standing ovation from a sold out audience... even before we started the first tune...whoa...that's a rush.

"Since the very beginning my sound and playing have been evolving, hopefully for the better (as in getting better as a player, musician and technician)." (Photo: Evan & Little Smoky Smothers)

Which meetings have been the most important experiences for you? What is the best advice ever given you?

There have been many very memorable and critical (to my career) meetings. And of course the most important associations are the ones that have remanded productive and personally rewarding this day.  One stands out however. I was with Elvin, we were 2nd bill to Robert Cray and Jr. Walker of all people was opening...for US! Our drummer at the time was Larry Vann. He called me over to where he was standing backstage with someone I didn't recognize. I walked over and he said "I'd like you to meet a friend of mine" and proceeded or introduce me to none other than bassist Bobby Watson who was with Jr. Walker on that show. I managed to get out that I had been a big fan from first hearing him on Billy Preston's 70's instrumental hit "Outta Space" thru most of the work he did with Rufus & the stellar playing on Michael Jackson's "Off the Wall" album. Well long story short ...I told him I had kept an article by Chuck Rainey in an issue of Guitar Player Mag circa 1976 that gave him credit for his work on Billy Preston’s hit for he had received no credit when it was released. All the other players except Bobby had been acknowledged. He had no idea that such an article ever existed. So I made a nice copy of the article and sent it to him.

Best Advice: Once again, my Father. As I mentioned he was professional stage actor and what he told me after a particularly difficult audition for a gig I really wanted was "some people will like the way you play, some people won't no matter how technically accomplished you are or what kind of equipment you use, etc. If you wait by the phone, it'll never ring. Go to the audition prepared, play your ass off, say thank you very much, exit like a pro (no tantrums, or begging) forget about it and go to the next one".

"Because her music (Lydia Pense) comes from the heart and she lays it out there to share with anyone who wants to listen. And you just can't ignore it!  It's infectious." (Photo: Lydia Pense & Cold Blood)

Are there any memories from recording and show time with Lydia Pense time which you’d like to share with us?

There're aren't many shows I've played with Lydia and my fellow suspects that haven't been memorable in one way or another. The level of musicianship in this band as an ensemble is probably the best I've ever been a part of. Each of my fellow players are outstanding with respect to individual skill which in turn, pushes me to keep on top of my game.

Why did you think that the Cold Blood and Lydia Pense's music continues to generate such a devoted following?

Because her music comes from the heart and she lays it out there to share with anyone who wants to listen. And you just can't ignore it!  It's infectious.

What do you miss most about music of the past & what are your fears for the future of music?

The story telling. I should say the sincerity of the story telling. In my opinion of course. The last couple decades have just seemed hollow to me. The lyrics are clever (sometimes) but depth of the musicality is missing. It just doesn't grab me. The musicianship (when it's actual humans) is always top notch but it just seems two dimensional. I'm referring to the "top 40". When I was a teenage walking info sponge, a lot of the music was brand new, no one had ever heard the sound of the Beatles, Little Stevie Wonder, the Stones, Beach Boys. I had already begun to play when "Good Vibrations" hit the air waves. At the time I had no idea Carol Kaye played the bass part on it but when I heard it on my little funky radio I figured out how to wire my cheap, open back bass amp to the radio, and waited...and waited...till the song came on again. It did finally and when Kaye come's in during the break down in the middle of the song, which is just voice & organ ...blam! She, (Carol) and my little cheap 12" speaker put out an awesome sound I had never heard before. The part was simple but WHAT a pocket! It still gives me goose bumps just writing about it. It's a time marker I'll never forget. My fear for the future of music in general is that it will become even more mechanized and shallow. Even now, most kids I have for students couldn't care less (and can't tell) if there listening to a "mp3 or mp4" or a "wave" file. It's just "give me more, more, faster, faster". It's a shame really.

"The last couple decades have just seemed hollow to me. The lyrics are clever (sometimes) but depth of the musicality is missing. It just doesn't grab me. The musicianship (when it's actual humans) is always top notch but it just seems two dimensional." (Photo: Evan, Mike Schermer, Paul Rodgers, Elvin Bishop & Ed Early in O'Hare International Airport, Chicago)

Which memory from Merl Saunders, Luther Tucker, Ron Thompson and Elvin Bishop makes you smile?

Well, I'll make this short! I could take another 6 or 7 months just to answer. Here then, the abbreviated version. First road gig with Merl was the Palladium in LA. After a great show and out to play with the great Paul Humphrey on drums. Back at the hotel we were watchin' TV and on comes Lawrence Welk. Didn't pay much attention until I suddenly noticed the drummer...it was Paul Humphrey! Merl, who had been watching me to see how long it would take for me to pick that up, laughed his ass off and said "that's where the real money is"!  He then proceeded to bust everyone up naming every tune on "Name That Tune"!

Luther Tucker: Trying to show him how to enunciate the song title "Shrimp Boats"...had to be there.

Ron Thompson: Watchin' Ron read the late Harold "H-Bomb" Banks the riot act! (mental image here)  It was like watching a Chihuahua chewin' out a Grizzly Bear! Nuff said

Elvin Bishop: There were far too many "smile moments" to remember ... which is a blessin' really 'cuz if I remembered them all I'd be walkin' around with a silly ass grin on my face 24/7.

What are the lines that connect the legacy of Blues with Soul and continue to Jazz and Rock music?

Heart (sincere), passion and musicality !!

"My fear for the future of music in general is that it will become even more mechanized and shallow. Even now, most kids I have for students couldn't care less (and can't tell) if there listening to a 'mp3 or mp4' or a 'wave' file. It's just 'give me more, more, faster, faster'. It's a shame really."

What do you learn about yourself from the blues and what does the blues mean to you?

What didn't I learn?! When to play and when not to play. A whole lot can be said with just one or two well placed notes.

When we talk about Blues usually refer past moments. Do you believe in the existence of real blues nowadays?

Yes I do... somewhere, someone is havin' a rough time of it and makin' music too try to ease the pain.

Let’s take a trip with a time machine, so where and why would you really wanna go for a whole day..?

This is a tough question. There are so many events that would be great to experience again, good and bad.

Good because they were ah....good! Like the KFRC Fantasy Fair on Mt. Tamalpias, CA. Held at the Mt Amphitheater June 1967 for two days which was my first real concert spiking my already heightened interest in a musical life time, featuring just about every act that was popular or very soon to become popular at the time. The stand out for me was during on a blistering sunny afternoon with a drummer, a piano player and her 8 month pregnant self, Dionne Warwick, absolutely killed it! Another moment I will truly never forget. Bad because if I had known at the time what was in store, I would have relentlessly pestered my Mom till she stopped making excuses and putting it off and go to the damn doctor before the cancer she had became incurable, possibly extending her life on this planet beyond the short 45 year mark that in reality, turned out to be.  Another time marker, that is forever burned into my memory. But in her memory (and just to stay sane) I treasure those memories as memories and live in the real world, one foot in front of the other, trying to learn something, anything every day!

(Photo: Evan Palmerston with Wall Street band: Tommy Banks, Jim Jedeikin, Rich Haering, Evan Palmerston, Michael Jobe, Kevin Jobe, Jeff Cregg, and Grace Garne)